Indian Classical Odissi Dance Training Erie, PA Instructor: Dr. Shreelina Ghosh Erie, PA Instructor: Shreelina Ghosh 3974 Zimmerman Rd., Erie PA 16510 517-881-5748 [email protected] MISSION STATEMENT The mission of Alankārā1 is to educate and prepare students in Odissi dance, music, theory, and performance. Inherent in the training process is challenging students to choreographic skills, to think critically about Odissi movement and idiom, and to imbibe the spiritual significance of the artistic tradition. Graduates of the program will be knowledgeable in invocatory dance, pure dance, expressional dance, basic Odissi music, foundational theory, make-up (aharya) and will be prepared for a full-scale Odissi recital (Ranga Pravesh). PRACTICAL SYLLABUS Exercises, Torso Exercises, Chowka steppings (10), Tribhangi Level One steppings (10), Mancha Pravesh, Mangalacharan, Ranga Puja Level Two Vasant Pallavi, Batu, Nritya Vilas, Megh Pallavi Level Three Saveri Pallavi, Mangalacharan (Namameesha), Moksha Level Four Abhinaya (Geeta Govinda), Aravi Pallavi, Dashavataar Level Five Abhinaya (Oriya), Kirwani Pallavi, Durga Ranga Pravesh: 2-hour solo recital (subject to discretion of the instructor) Senior Advanced training as per discretion of the instructor The course syllabus of Alankārā is based on the structured syllabi of the University of Pracheen Kala Kendra-Chandigarh and Akhil Bharatiya Gandharva Mahavidyalaya Mandal (nationally recognized universities of performative arts in India). The duration of the basic course is 3 to 5 years which includes both practical (basic footwork, fundamental dance movements & introduction to some beginners' dance items) as well as theoretical (Abhinaya Darpana, Taal system & Oriya literature) components. Students graduate (and perform Ranga Pravesh). Though the syllabus mentions the Pallavis, Abhinaya, etc. by name, students may learn other items as per the instructor’s discretion. Changes to the syllabus may occur without prior notice. The time frame of each level will depend on the level of the student(s). 1 Indian classical dances was born in the temples as a form of worship practices by devadāsis (meaning servants of God). The alankārā devadāsis were the highest order of devadāsis. They were carefully chosen and initiated at a tender age. Alongside a rigorous training in Gandharva Vidyā (knowldge of dance and music), they learned all the intricacies of makeup, the art of decoration, etiquette, and spiritual scriptures. THEORY SYLLABUS Level One 1. Knowledge of Indian mythogogies 2. Asamyuta and Samyuta Hastas 3. Foot positions: Adi, Sama, Viparitnukhi, Kumbha, Dhanu, Prushta Dhanu, Maha 4. Names of classical dances of India and their concerned states. 5. Matra, Laya, Tali demonstration. Level Two 1. Shirobheda, Drishtibheda, Greevabheda. 2. Foot positions: Eka, Meenapuchha, Lolita, Uttolita, Ullolita, Nupura, Soochi, Kunchita Anukunchita 3. Odissi Musical instruments 4. Temples, Pata chitra, & Palm leaf paintings & its relation with Odissi dance. Level Three 1. Bhramari, Chali 2. Bhangi: Sama bhanga, Abhanga, Tribhanga, Atibhanga, and Chowka 3. Foot positions: Bilagna Parsni, Tribhanga, Swastika, Mandala, Chouka, Ardha Chouka 4. History of Odissi dance from its origin story to mahari, gotipua and Odissi’s revival Level Four 1. Abhinayas: Angika, Vachika, Aharya, Lasya and tandava 2. Select Hasta viniyogas, Deva hastas, Bandhu hastas 3. Rasas and Bhavas 4. Matra - Laya – Tala 5. Foot positions: Bandhani, Utparni, Ardha Swastika, Rekha 6. Ek Taali – 4 Matras, Rupak – 6 Matras, Trputa - 7 matras, Jhampa – 10 Matras 7. Identify and define the 3 types of dance presentation: Nritta, Nritya and Natya 8. Study of Ashthapadi Level Five 1. Identify the following texts, the author and list their significance to Odissi classical dance: Natya Shastra, Abinaya Darpana, Gita Govinda. 2. Nayakas and Nayikas 3. Khandis and Arasas; Arasas in Odissi Talas: Ektali (4 Matras) and Rupak Tala (6 Matras) 4. Odissi tala and music system, Musical accompaniments 5. Demonstration of Rupaka (6 Matras), Khemta (6 Matras), Astatala (8 Matras), Jhampa (10 Matras), Jatitala (14 Matras), Adtali (14 Matras), Aditala (16 Matras) 6. Demonstration of Stayee Ukuta (Dharana), Bani, Ukuta, Khandi, Gadi, Maana, Jhula, Pohapata, Padi 7. Odissi dance make up, costume and significances Senior 1. Study of Sacred Space, Guru and traditional mythologies 2. Karana, Angahara, Rechaka, Chari and Mandal 3. Knowledge of the Natyashastra 4. Oriya poetic traditions and forms 5. Concepts of choreography and professional dance production 6. Artistic collaborations 7. Dance pedagogy 3 RULES AND REGULATIONS 1. Annual Odissi sessions will be from September to December, January to May. 2. Punctuality and regularity to class must be maintained by students. Punctual attendance is expected in every class. 3. The timeless and age-old tradition of Guru-Shishya parampara will be valued in our class. Parents are requested to help students understand the concept both in context of our class, as well as in general. 4. Dance students must attend the class in salwar-suit or t-shirt and exercise pants. Students must bring a dupatta or scarf to class. 5. All clothes, jewelry and hair should be restrained so as not to interfere with movements 6. If instructed, students must bring a notebook and pen in class. 7. Practical examinations will be held in the first week of December and first week of May. 8. Theory exams will be conducted online in the last week of May. 9. If student misses a class, make-up classes will not be provided. However, the instructor might reschedule classes with prior notice. 10. If all students agree to re-schedule a class, that may be arranged with the instructor. 11. Students will be provided practice quality music for the compositions taught in class. Performance quality music can be purchased from the instructor for Ranga Pravesh or other performances. 12. The prescribed textbook Mirror of Gestures or Abhinaya Darpana by Nandikesvara will be provided by the instructor in pdf form. 13. All theory readings will be provided by instructors. Students should study them carefully. 14. Dancers will require to buy Odissi costume, ornaments etc. in order to participate in troupe recitals or Ranga Pravesh. 15. Ranga Pravesh (graduation) may be arranged by students as per discretion of the instructor. Special instructions will be provided regarding the requirements. 16. Items taught at the advanced stage will be as per discretion of the instructor. 17. Without the permission of the instructor, students are not allowed to accept any engagements to appear in public either on amateur or professional stage or in any program in classical Odissi dance till Ranga Pravesh (graduation). 18. Students are advised to participate in an Annual Intensive Training Workshop (practical and theory) by an eminent Odissi guru who will be invited by the instructor. This exposure will be an enriching experience for students. There will be extra expense for the workshops. 4 WHAT IS ODISSI? Odissi traces its origins to the ritual dances performed in the temples of ancient northern India. Today the name Odissi refers to the dance style of the state of Orissa in eastern India. Odissi dance is marked by its graceful lilt as well as elegance. Odissi is full of sclupturesque poses known as Bhangis. The technique includes repeated use of the tribhangi, or thrice deflected posture, in which the body is bent in three places, approximating the shape of a helix. This feminine pose is most approved with three bends in the body, the first cause by the crossing of the legs, the second by a curvature at the waist and third by an inclination to the head to one side, generally to the left. The most graceful feature of Odissi dance is the soft circular movement of the hand, head and torso, depicting the roundness of the Konark wheel or Sri Jagannath Deva's eyes. The theme of Odissi dance is deeply rooted in spiritualty. A typical Odissi repertoire consists of the following: Mangalacharan In the Odissi style, the Mangalacharan marks the entrance of the dancer onto stage. The dancer invokes the blessing of Lord Jagannath for an auspicious beginning to the performance. Then the dancer offers salutation to the Mother Earth (Bhumi Pranam), the teacher, the accompanists and the audience. It is followed by a homage to a diety. Mangalachanaran essentially invokes the blessings of the revered God, Guru, and the audience. Batu Batu Nritya is a pure dance offering in honor of Lord Batukeshwar Bhairava, one of the 64 aspects of Lord Shiva. This dance item is indicative with sculpturesque poses describing such actions as the playing of the drum, veena, flute and cymbals. Pallavi Pallavi is also pure dance and implies elaboration; an exposition not only of the dance but also of the music that accompanies it. Like the blossoming of a flower, the Pallavi gradually unfolds the particular Raga upon which it is based: thus a beautiful tapestry of rhythm, music and movement is created. Abhinaya Abhinaya is an expressional in nature, a depiction of a bhava or deep emotion expressed in a song or lyric. In Odissi style, this item is danced to the musical poetry of Jayadeva’s immensely lyrical Sanskrit love poem, the Geeta Govinda of the 12th century AD. The Abhinaya item is sometimes danced to the accompaniment of Oriya lyrics composed by the three venerated poets of Odisha – Kavisurya Baladeva Rath, Gopal Krishna Pattnaik , Banamali Das - among others. Set to a slow tempo, the abhinaya provides ample scope to the dancer for delineating an emotion through the expressive artifices of mime –glances, hand gestures, sinuous movements of the body and the myriad uses of facial expression. Mokshya Mokshya means salvation or the ultimate release from the human life experience and the blissful integration of the human soul with the Almighty. Mokshya, the final item of the Odissi repertoire, signifies the total surrender of the dancer to God. 5 ABOUT SHREELINA Shreelina Ghosh perfected the ancient art of Odissi dance under the strict supervision and loving care of the eminent Odissi exponent, Guru Aloka Kanungo for more than 30 years.